Damn, I never thought about a cover of Future Islands, let alone a semi-sultry/jazz kind of cover. Probably because of the grungy sound that the lead, Samuel Herring, gives the song. But Niia, a singer, pianist and Kanye collaborator, gives the heart-wrenching song a completely new direction with her Noir sound. Learn more about NYC-based Niia here. Dig in:
If you’re not already signed up for Borneland’s mailing list (aka their monthly mix emails), do yourself a favor and get on it. It’s a consistent mix of deep cuts and top 40 edits that keeps you up to date on the state of dance music, so says I. A stand-out track on this mix for my is the Gold Fields remix of Pat Lok’s “All In My Head”, woof! Dig in & download their mix for March. Tracklist below:
00:00 – Cajoline & Leflex – Hold You
04:44 – ODESZA – All We Need (ft. Shy Girls) (KAASI Remix)
07:33 – Shura – Indecision (Jungle Remix)
10:33 – Cherokee – Teenage Fantasy (ft. Gibbz)
15:16 – Dadaismus – KH’z (Original Mix)
20:24 – Pat Lok – All In My Head ft. Desire Dawson (Gold Fields Remix)
25:52 – Louis La Roche – The Receiver (Blende Remix)
30:15 – Hercules & Love Affair – Do You Feel The Same? (Purple Disco Machine Remix)
36:26 – Afro Cuban Band – Something´s Got To Give (Space Echo Edit)
41:25 – Mike Metro – Start To Dance ft. Livingstone & Simon Milan
46:40 – Blonde – All Cried Out ft. Alex Newell
49:19 – The Writers Block – Don’t Look Any Further (Endor Remix)
53:30 – Endor – Kiss Me Baby
58:16 – Whitney Houston – How Will I Know (Oliver Nelson Remix)
Who: Les Sins
When: February 26th, 2015
Where: The New Parish
The Bay Area doesn’t play when it comes to their native, Chaz Bundick from Toro y Moi. Anytime the feller is around for a DJ set, expect to get sweaty due to excessive body bumping. This time at The New Parish of West Oakland was no different. As part of their East Bay edition, Noise Pop 2015 brought Chaz out to play under his latest moniker, “Les Sins”. The young lad dropped a combination of songs from his album “Michael”, and hip-hop and R&B jams from the last few decades. Speaking of “Michael”, the album had many elements that led astray from the usual chillwave vibes which he helped found. To be quiet frank, “Michael” sounds like a collection of lazily produced deep house tracks that stumbled their way into Toro y Moi’s studio. Back to the show though. Starting it off with Talk About from his latest album, the bass was rumbling hard and the whole place started wilding out in true Oakland fashion. As Les Sins continued to mix into more of the new album, he didn’t fail to remind us of his older releases like Grind. What really got the venue was shaking was the mixing of Fetch into Ciara’s OH. From there on out, Chaz took everyone on a trip down memory lane with Heavy D, Justin Timberlake and god I wish I could remember more. Overall, it was an amazing show that left me wandering how the new Toro y Moi will sound.
Los Angeles local Lonely Boy (Joshua Heath) was guest number 41 for SlothBoogies guestmix installations, and he serves up some serious deep cuts through the hour. Kicking off with a Motor City Drum Ensemble dub of “Plastic Romance” to get the mix chugging along, Lonely Boy weaves through just 11 tracks that take your ears on an intergalactic disco drive, including a couple of his own tunes recently released on his third EP, I Like Disco via. SlothBoogie. Dig in, download, and peep the tracklist below:
1. Plastic Romance – Motor City Drum Ensemble Dub
2. Moments in Life (16 Bit Lolitas Remix) – Navar
3. Call (Downtown Party Network Remix) – Tantsui feat. Therr Maitz
4. Let’s Dance and Freak – Kerrier District
5. I Like Disco – Lonely Boy
6. The Subtle Frenzy – Lonely Boy
7. Boa – Ashworth
8. Stars (Guy J Remix) – Barry Jamieson
9. Patience Please – Matthew Dekay
10. Flocon de Neige – Worakls
11. Lonely Planet – Nautiluss
Frank Lloyd Wright’s Hollyhock House sits atop Barnsdall Park, one of my favorite pseudo-lookout points in Los Angeles. When I first visited the park two years ago the house was closed with a fence surrounding it, so I admired details from the outside. You could walk up to the front door and peek in though small square windows, but you never got a full grasp of the layout of the house. Lucky for me and other Angelinos who have been patiently waiting to see the houses’ interior, it’ll be reopening February 13th with free admission and tours throughout the night! Yes, that’s the weekend of Valentine’s Day and yes, this will be a killer Valentine’s date, so make note.
Belgian producer Aeroplane pumped out a killer hour-long Balearic mix as a free download when you hand over your email address, not a bad trade off for an hour of a fascinating genre. Get to grooving.
I first heard of Suzanne Lummis and her influence on the Los Angeles poetry renaissance in a poetry class I took at CSU Long Beach from my professor, Bill Mohr. Entrenched in Los Angeles’ poetry renaissance himself, it was absolutely fascinating to hear him discuss being part of the momentum of the poetry movement, which he contributed to in writing his own poems and running his own small-press poetry magazine. Suzanne Lummis’ poetry was presented as part of the school of stand-up poets (others may learn of Lummis from the “Fresno School”, a group of poets graduating, writing, and publishing from Fresno, CA), a genre I had no idea could even exist. Mohr included her poem, “Letter to My Assailant” in his book Holdouts, an anthology for the Los Angeles poetry renaissance.
Stand-up poetry isn’t exactly what you think, you probably won’t laugh out loud from every piece you read, you might not even giggle to yourself, or smirk. To me stand-up poetry is a more candid approach to poetry. Lummis’ “Letter to My Assailaint”, for example, is shocking. We hear of rape, we hear of harassment, we hear of assault, but we do not hear details, or even more often, read details of these incidents, ““I can’t breathe;’ I gasped,/ and you loosened your hold./ I suppose I should have been grateful,/ instead I felt impatient with men,/ with their small favors.”
As poetry should, each line packs a punch of emotion and imagery that’s too raw to shake, with Lummis’ snide follow-up thoughts as the only comfort to keep you engaged with the poem. Lummis’ new book of poems, Open 24 Hours doesn’t stray from her stand-up, raw verbiage stylings. Here’s an excerpt from a poem featured in her new book:
This pale, feverish presence
inside your life is you,
and those are loud strangers
gripping beers. But why die,
ever, while stores shout out
their bargains, hot CD’s,
and one can gaze at the bodies
who’ve stopped dancing now
and stand about jaggedly
because the doorways
of rock clubs pumped them
into open air? No doubt about it,
all this is for you.
Some Doo Wop tune
on the airwave says the night’s
thousand shifting eyes
are on the watch. You guess
two of them are yours.
Tonight Mr. Good
or Bad might pluck you
from the crowd.
There’s some place you’re
supposed to be, some fun
you’re supposed to have.
It’s fate, your fate, and it’s open
It wouldn’t be fair to say Alpine slipped under my radar because my radar has been all over the place lately, usually focused on disco, but mainly listening to comedy podcasts. Alpine is is six-piece band from Melbourne, Australia cranking out some sugary-sweet sounding tunes that are full with soft coos and explosive keyboard and guitar riffs. Alpine’s A is for Alpine pulls your ears in slowly and envelops your entire body by the chorus with both intro tracks “Lovers 1″ and “Lovers 2″. One of my favorite tracks follows these two, “Hands”. It’s a song that translates from a sunny drive to a disco dive on the dance floor. Actually, a lot of the album feels that way, which is probably why I’ve been digging it so hard. Anyway, have a peep:
Billie Black’s “I Don’t Need Another Lover” was on Nialler9′s “New music weekly” Spotify playlist, twice. Probably an accident, but after I listened to it once, was ready to play it again, and then five more times after that. The 19 year-old singer/songwriter from London isn’t fucking around with her sultry voice or the lyrics that clash with the sound. More than that, she has a much better understanding of the relationships and intentions between men and woman than I do at 24. Billie Black’s Facebook page says shes currently unsigned, I wonder if it’s because she’s waiting for XL Records to approach her with a deal. Get to it, someone. Billie’s gonna hit it.